Understanding Subplots: The Key to Storytelling

I’ve had lots of questions and about plotting stories, and my articles on plot and structure continue to be among my most read posts.

What is a Subplot?

A subplot is a secondary storyline which runs alongside the main plot. It often involves supporting characters, additional conflicts, or personal struggles that relate directly or indirectly to the protagonist’s journey. Some of the best subplots connect to the main narrative, either by reinforcing the theme, revealing character traits, or influencing the main plot’s outcome.

Why We Need Subplots?

Whether you are writing scripts, short stories or novels, having multiple plot strands creates a necessary expansion of the main themes and layers your stories. Subplots add depth, complexity, and emotional resonance to a story. They transform a simple narrative into a layered experience that feels more realistic and engaging. Understanding how and why to use them strengthens your writing.

Subplots Add Depth to Characters

One of the greatest strengths of subplots is their ability to develop characters beyond the main storyline. The main plot often focuses on a specific external goal: solving a mystery, defeating an antagonist, or achieving a dream. Subplots, however, often explore the internal lives of characters: their relationships, fears, and motivations. This creates intrigue and insights for the reader, which might be missed through the main plot line.

Creating More Realistic Worlds

Real life rarely follows a single narrative thread. People juggle relationships, responsibilities, and individual struggles. Subplots highlight this layering effect by weaving multiple storylines together. This creates a world which feels more realistic. Supporting characters also show their own motivations and story arcs rather than existing solely to support the protagonist. This creates a richer, more immersive experience for the reader.

Subplots Strengthen Themes

Subplots are powerful tools for reinforcing the central themes of a story. A well-designed subplot often mirrors, contrasts, or adds complications to the central plot. If the main plot explores trust, a subplot might show a different character grappling with betrayal in a different context. These variations allow readers to view themes from multiple angles, making the story feel more authentic.

Change of Pace

A single storyline moving at full intensity from beginning to end can become exhausting for readers. Bringing in subplots shift the focus and builds gradual tension, creating breathing space between key points in the plot. They can also act as narrative bridges which keep readers engaged, while the main plot builds toward a pivotal turning point.

Subplots Drive the Main Plot Forward

Although subplots are secondary, they often have direct consequences for the main storyline. A subplot might influence a character’s choices during a critical moment, or reveal information which changes the direction of the main conflict. When subplots intersect with the main narrative, the story feels more interconnected.

Some Examples in Films

If you’ve ever watched the film, Crash, you’ll see how well subplots are used to increase tension and keep the viewer hooked. Set in LA over several days, we see the stories of different characters interweaving. Its impact is intense. Layering is important, and an interweaving of plot and subplot creates a richer, more diverse experience.

In the film, Shawshank Redemption, the role of Brooks as Red’s negative mentor, tricking the viewer into expecting Red will follow the same path towards destruction.

What about Bilbo Baggins, who saves the dwarves from the spiders in The Hobbit. Baggins is a good example of creating conflict through a subplot to illustrate growth in a character.

Wild Seas, Wilder Cities raises £5,500 for Solent Seagrass Restoration Project

EXCITING NEWS!

My short fiction piece, ‘Prolific,’ was published in the Pens of the Earth Anthology, Wild Seas, Wilder Cities, alongside some wonderful authors in 2025. Since then, a whopping £5,500 has been raised for the Solent Seagrass Restoration Project. The money raised comes both from book sales and related activities. Find out more about the collection.

ABOUT THE COLLECTION

Wild Seas, Wilder Cities is a “wild-seeded” collection of short stories, poems, memoirs, environmental articles and illustrations from 54 unique contributors, all concerned with showing the positive side of our relationship with the earth.

Wild Seas, Wilder Cities is a “wild-seeded” collection of short stories, poems, memoirs, environmental articles and illustrations from 54 unique contributors, all concerned with showing the positive side of our relationship with the earth. 

Dive into the depths of Wild Seas, Wilder Cities and let your imagination be fired by the many wonderful projects already making a difference to our world, by stories of hope, celebrations of nature, inspirational people (both real and fictional) and by the local action that every one of us can undertake. A few small differences in your life will ensure you are part of the ever-growing global community dedicated to protecting our precious planet. Let us inspire you!

RESTORATION PROJECT

“The many writers and poets represented in this book have all given their work freely to support the vital work of the Hampshire & Isle of Wight Wildlife Trust in its repair and maintenance of the Solent seagrass meadows.” Pens of the Earth

The Restoration Project is working towards a vision of a wilder future and 30% of land and sea restored for nature. Seagrasses do as much to keep the planet cool as rainforests, so raise your spirits and help us plant the seeds of change.

All profits from this book are donated to the Solent Seagrass Restoration Project.

REVIEWS

‘Bursting with inspiring and hopeful visions’ Carys Bray, author of A Song for Issy Bradley

‘A lyrical force for change’ Nicola Chester, writer for The Guardian

‘Full of love, enlightenment, practicality and poetry’  Toby Litt, author of Patience

‘This collection, evolved from the inspirational Pens of the Earth, shows how meaningful, themed narratives can make a shift towards change’ The London Magazine Review, by Judy Waite, Award-winning author and Senior Lecturer in Creative Writing, University of Winchester.

‘We bear witness to the natural world in many ways, and the pieces come in all shapes and sizes, carrying messages of determination, love for nature, positive actions and the power of community.’ Sarah Jane Butler, author of Starling

‘A delightfully encouraging collection of writings on the ways we can help make the world wilder again, how we can change the narrative on climate change. Vibrant and alive, these are wonderful tales told of renaturing – of striving to support life in all its glorious forms on the earth, of restoring hope for the future.’ Dr James Canton, Director of Wild Writing, University of Essex

Pens of the Earth have a number of activities coming up this year, including online and in-person workshops (check out Tamsin’s Mar 2nd Portsmouth BookFest workshop), the launch of an audiobook, and further book sales, to continue to raise money.  

In the meantime, listen to Pens of the Earth in conversation on Radio Victory‘s Between the Lines, this Sunday, at 6pm. Rachel Birchley will be chatting with Loree and Matt about environmental writing, Tamsin’s forthcoming BookFest workshop and what it takes to put a good anthology together. It will also be available on catch up: https://radiovictory.co.uk/betweenthelines.

The Power of Character-Driven Stories

One of the questions I’m most frequently asked as a writer is, ‘do you focus on plot or character?’ I predominantly write thrillers, so character is particularly important and often drives the story line (the plot). Jana in Take Me to the Castle and Leisl in Dead Drop are strong female protagonists. Their thoughts, lives and actions drive the plot.

It works well for short stories, particularly given the brevity of the craft and the constraints of needing to hook a reader quickly, drawing them into a story. When the reader is engaged with the character, they are more likely to engage with the story and understand the motives driving the character’s decisions and actions.

When a reader knows what a character has experienced and understands their weaknesses and specific character traits, the story makes more sense and the reader wants to go on the journey with them.

Who your characters are is much more intriguing than what they do in a character driven story. We don’t engage with perfection as readers, we engage with vulnerability. Vulnerability leads to trust and connection.

It works with fictional characters in the same way as in real life. The writer’s job is to make the reader care, and the most effective way to do this is to highlight a character’s fears, vulnerabilities, and internal conflicts. I’ve written more about this in other posts on plot writing here and here, as well as on the narrative arc.

Examples of character driven stories…

Of Mice and Men

Crime and Punishment

Brooklyn

A Man Called Ove

Eleanor Oliphant is Completely Fine

Using Photographs as Writing Prompts for Short Fiction

Lots of people ask me where I get my ideas from when writing fiction. The answer remains elusive. As a photographer, I find much inspiration from snippets of every day life that are captured in photographs. Scenes from life, interactions, a moment in time. These all form the seeds of an idea.

I find black and white images particularly striking. Ted Grant famously said, “When you photograph people in color, you photograph their clothes. But when you photograph people in Black and white, you photograph their souls!”

I use Pinterest to collect and find ideas. You can read about it in this post. I’ve gathered together a few of my favourite recent photographs from other photographers into a board of writing prompts. You can see a few of them below, but go to the board for the full range.

All photo credits: Unsplash (see my Pinterest Board for individual photographers)

There is something about a visual stimulus which can spark an idea. It also makes the writing process less daunting, particularly if you’re struggling with writer’s block.

Do you use images for inspiration in art or writing? Let me know in the comments. If you find inspiration from any of these writing prompts, I’d love to hear from you.

Celebrating 100,000 Blog Views with Writers and their Creative Spaces

To celebrate reaching a blogging milestone of over 100,000, I thought I’d share more of what you’ve enjoyed recently. One of my most viewed posts over the past month has been Writers and Their Creative Spaces. So, here are some of the creative spaces of other writers.

Hemingway’s writing space at his home in Florida Keys. He wrote whilst on his boat or at his Key West home. Here, he wrote The Old Man and the Sea.

In celebration of hitting a blogging milestone of over 100,000 views

Michael Pollan built this small writing hut in the woods by his house in Connecticut. Pollan was inspired by French writer, Gaston Bachelard, who wrote in The Poetics Of Space, ‘I should say: the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace.’

“The house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace.”

Neil Gaiman built a gazebo almost 30 years ago in his garden. He says, “I can look out of the window and some wildlife will occasionally look back…There are heaters down there, because it gets cold here in winter, and blankets on the chairs, ditto, and I have to try and remember not to leave bottles of ink on the table as they freeze. It’s just out of reach of the house Wifi, too, which is a good thing.”

It’s just out of reach of the house Wifi, too, which is a good thing.

Roald Dahl wrote in a shed in Buckinghamshire, which he called his Gipsy House. Everything was within reach of his chair, according to illustrator, Quentin Blake. He also wrote with his favourite pencils on yellow paper.

Inspired by Dylan Thomas, who found writing at home difficult with young children, Dahl built his Gipsy House – a sanctuary, somewhere where he could work without any interruptions.

A sanctuary, somewhere where he could work without any interruptions.